Category: Data-Labor-Technology Stories

The subscription video service plans to grow marketing costs to $2 billion this year from $1.3 billion in 2017. However, TV is still a tiny part of Netflix’s marketing revenues.

Netflix has been a disruptive, revolutionary force in many ways, but what’s particularly interested me from a PR perspective is how it’s refused to play the old “bragging rights” game. You know how
that works: The networks deploy an army of in-house publicists to brag about their ratings, which are dutifully reported in the TV columns the next day.

When data-driven analysts prognosticate about industries like mobile advertising, they tend to be very … well, data-driven. They look at increases in ad spend in certain areas, movements from big companies in the space or investments in certain technologies. While there is certainly a place for data in understanding what’s next for mobile creative, some…

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As the value of publisher data surges, Adam Harris, VP of data products at Hearst Magazines Digital Media, is tasked with maximizing its opportunities. When Harris joined in May, he looked at how Hearst data can be used to create experiences that drive sales, which performance-focused advertisers demand from their digital media. The work builds… Continue reading »

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Amazon, Google, Microsoft and Facebook are investing in AI-enhanced devices that provide answers when we ask questions. We’re at the beginning of a big year for voice-based marketing as these companies double down on these investments and brands experiment with new customer experiences powered by voice. According to our recent survey of 1,000 consumers, 73…

In this week’s Rundown, we examine why digital publishers may not find quick profits in TV, why publishers are investing in Instagram Stories and what’s happened to Facebook’s Campbell Brown.

The pivot to TV will be hard
Over the past few years, top digital publishers such as BuzzFeed, Vox Media and Refinery29 have been building out entertainment divisions in an effort to create movies and TV shows. Some of this has been driven by the desire for more revenue, as the ability to create hit movies and TV shows can lead to streams of revenue that aren’t tied to digital advertising. And to these publishers’ credit, some have hired experienced entertainment folks to build these new businesses.

But as one veteran producer, who’s made dozens of TV shows and movies, told me recently: TV is a terrible business if you’re looking for quick profit. When asked how much it would cost to build a successful TV studio, he said, “$200 [million] to $300 million, to start.” Even if networks, streaming services and other content buyers are willing to fund productions in exchange for licenses, the reality is that most studios have to spend some of their own money to get a show made. And most shows need two or three seasons — or, in some cases, five seasons — to turn a healthy profit for the studio.

And that’s if you don’t sell an original show or movie to Netflix, which is increasingly fronting full production costs — and a bit “extra” on top, said another producer — to buy global distribution rights. In these cases, all a producer has is the margin. — Sahil Patel

What’s the (Instagram) Story?
Publishers widely acknowledge that there’s no easy replacement for Facebook referral traffic, but many of them see Instagram Stories as a promising growth area. What started out as a Snapchat knockoff has grown into a powerful traffic driver for some publishers. For some, Instagram Stories hasn’t just become the third-biggest source of referral traffic — in its best months for some publishers, it can drive more traffic than Facebook. Publishers are drawn to the format because it’s easy to update a Story that isn’t performing well, and the competition hasn’t yet gotten as fierce as the news feed has long been. Whether that stays true as publishers cast about for new referral sources remains to be seen. — Max Willens

The post The Rundown: The pivot to TV isn’t easy appeared first on Digiday.

Get ready for your mind to be blown by all the wonderful things you can put guacamole on (we’re talking toast, sandwiches, tacos and more) thanks to Avocados From Mexico. The trade group released a teaser for its 30-second Super Bowl spot, which will focus on the versatility of guacamole. GSD&M is handling the creative….

PepsiCo’s Super Bowl LII ad for Mountain Dew and Doritos just got a lot more epic. The snacks and beverage company announced today that hip-hop legends Missy Elliot and Busta Rhymes will appear in the ad alongside actors Morgan Freeman and Peter Dinklage. In a second teaser (below), Elliot is paired with Freeman for Mountain…

Uber is beginning 2018 by focusing more on celebrating its drivers, beginning with a pair of documentary-style spots–timed to National Compliment Day today–profiling two drivers who’ve gotten some of the most in-app compliments from passengers. “A compliment can go further than you think,” says onscreen copy at the beginning of the spots, which were made…

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Although video header bidding is still nascent, early adopters are starting to see results. Social-heavy publisher Diply has been using AppNexus’ video header bidding solution Prebid Video since the end of last year to allow programmatic auctions to compete alongside its ad server –  Google’s DoubleClick for Publishers (DFP). Customizing its header bidding wrapper helps… Continue reading »

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